Wild and Rare

Fashion and Endangered Species

Woman in Fethered HatFashion History Museum

Despite a deep historical connection to harvesting wild species for clothing and the continued use of rare and exotic species in fashion across the world, the use of wild animals in fashion remains an uncomfortable and highly charged topic.

Wild and Rare ExhibitFashion History Museum

Fur

Fur is arguably the most common and diverse of wild and endangered species used for fashion. From beaver pelt hats in the 17th century, to grandmother’s mink stole, the desire to wear fur has been influenced from many different directions. Exoticism and power, luxury and even eroticism have each influenced the wearing of fur.

Raccoon Coat (c. 1920) by Holt RenfrewFashion History Museum

Man's Raccoon Coat by Holt Renfrew, Canadian, c. 1920s

In the early 17th century, the harvesting and trade in beaver pelts facilitated the exploration of what came to be Canada. In doing so, the relationships between Europeans and Indigenous communities were forever transformed.

Ermine Stole (c. 1910) by UnknownFashion History Museum

Ermine Stole, Canadian, 1910s

The ecological impact of harvesting wild species was not well understood at the time, and overhunting of these animals caused their numbers to dwindle significantly, taking years to recover.

Black Colobus Monkey Fur Jacket (c. 1940)Fashion History Museum

Colobus Monkey Fur Coat, American, c. 1940

Despite growing animal rights activism demand for rare and exotic furs soared well into the 20th century, shifting from species to species as tastes changed.

Geoffroy Cat-Fur Jacket (1939/1942)Fashion History Museum

Geoffrey Cat Fur Coat, American, c. 1940

Although fur does not hold the same currency in our culture as it did, it remains highly desired in other parts of the world. Indeed, harvesting fur in Canada remains a charged and debated issue.

Garnet Red Fur Felt Hat with Bird of Paradise (early 1910s)Fashion History Museum

Feathers

A global trade in exotic birds grew in the late 19th century as fashionable women and their milliners demanded not only feathers or ‘plumes,’ but also whole birds for their designs. The birds came from around the world and included hummingbirds, woodpeckers, pheasants, and birds of paradise (as seen on the brim of this garnet coloured fur felt hat, c. 1910).

Purple Velvet Hat with Egret Panache (early 1910s)Fashion History Museum

Velvet Toque trimmed with egret, c. 1913

The great egret and snowy egret were harvested for millinery during the peak of their breeding season when their feathers were at their most luxurious. This lead to significant reductions in their populations, endangering their existance.

Blue Felt Hat with Victoria Pigeon Feathers (c. 1958) by Laddie NorthridgeFashion History Museum

Goura Feather Trimmed Hat by Laddie Northridge, New York, c. 1958

In 1896, Bostonians Harriet Hemenway and Minna Hall encouraged women to end the hunt of wild birds for plumes and join the Massachusetts branch of the National Audubon Society. By 1897 1,000 women had joined.

Black Felt Hat trimmed with European ‘Bee-eater’ Birds (c. 1945)Fashion History Museum

Belgian Hat with two 'bee-eater' Birds, c. 1945

Their activism was part of a growing conservation movement for protecting wild birds that targeted not only the fashion industry, but also sport hunting and habitat destruction.

Alligator Tango Sheetmusic (c. 1928)Fashion History Museum

Skin

The demand for reptile skins increased after developments in tanning in the early twentieth century created a process that made the skins more durable and softer.

Caiman Alligator Hide Purse (early 1900s)Fashion History Museum

Caiman Alligator leather purse, early 1900s

The popularity for reptile skins had a significant impact on various species. American alligator populations had decreased so much through over-harvesting, by 1967 the American alligator was placed on the endangered species list.

Crocodile Foot Coin Purse (early 1900s)Fashion History Museum

Crocodile Foot Purse, c. 1910

Despite ongoing legal, ethical, and conservation issues pertaining to skins, great strides in conservation have been made. For example, Louisiana’s Rockefeller Refuge began a farming and release alligator program in the late 1960s.

Red Dyed Python Snakeskin Sandals with Wood Platform Soles (c. 1975)Fashion History Museum

Dyed Python Snakeskin Shoes, c. 1975

Illegal trading in wild-caught as opposed to captive-bred snakes and other reptiles, falsified import and export permits, and other forms of fraud continue to impact wild and rare species globally.

Parasol Umbrella with Ivory Handle (1860s)Fashion History Museum

Bone, Ivory, and Shell

Bone, ivory and shell each have their own unique place in the history of fashion. Ivory handled parasol, c. 1860s

Corset with Baleen (Whalebone) Stocks (c. 1890)Fashion History Museum

Whalebone (Baleen) Corset, c. 1890

Baleen is pliable and strong, and used by whales to filter food from the sea. It became a useful byproduct from the whale oil industry for making corsets. Whaling depleted several whale species before petroleum replaced whale oil in the late 19th century.

Hawksbill Turtle ‘Tortoiseshell’ Comb (c. 1830)Fashion History Museum

Hawksbill Turtle 'Tortoiseshell' Comb, c. 1830

A global industry grew around the hawksbill sea turtle, prized for its rich, marbled shell. These shells have been made into various fashion items, including jewelry and combs.

Lady’s ‘Tortoiseshell’ Calling Card Case Inlaid with Mother of Pearl (1800)Fashion History Museum

'Tortoiseshell' Calling Card Case Inlaid with Mother of Pearl, 1880s

Habitat destruction has also impacted turtle species. Despite progress in protecting whale and marine turtle populations, a lack of law enforcement and illegal trade, continues to impact their recovery and growth.

Credits: Story

Highlights from the exhibition "Wild & Rare: Fashion and Endangered Species" October 6 - December 18, 2016, at the Fashion History Museum, 74 Queen Street East, Cambridge, Ontario

Guest Curator Lisa Gies, Curator C.A.V. Barker Museum of Veterinary History

All artifacts are from the Fashion History Museum Collection. Photography is the property of the Fashion History Museum.

Credits: All media
The story featured may in some cases have been created by an independent third party and may not always represent the views of the institutions, listed below, who have supplied the content.
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